![]() ![]() Born in the Midwest, he spent eight years working in a Cincinnati dime museum before becoming a newspaper cartoonist in 1903, he entered the big time, joining The New York Herald. ![]() ![]() The full-color Sunday funnies were born in the late 1890s, and with McCay (1867–1934), they produced their greatest exponent. Yesterday’s trash, tomorrow’s treasure: Peter Maresca’s Little Nemo in Slumberland: Splendid Sundays, a spectacular centennial celebration of cartoonist Winsor McCay’s magnum opus, painstakingly restored, presented in authentic hues and blatantly uncommercial full broadsheet format, exemplifies the old Marshall McLuhan paradigm by which an obsolete form is transformed into an objet d’art. ![]() Wildly poignant, then, and almost utopian, to revisit the period, more or less a century ago, when five-cent Sunday papers competed to provide disposable art for the masses. Hardly a morning goes by that you can’t find an obit for the American newspaper-not just posted online but written on the old fish wrap as well. Who wants today’s? The president is hardly the only fellow who’s got no use for the daily press. What was then evanescent now seems obsolete. Who wants yesterday’s papers? So the young, petulant Rolling Stones demanded as if they always knew that they were destined to rival death and taxes. ![]()
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